Original subtitles

Who was Leonardo da Vinci?

You can answer that question 20 different ways, at least.

An all-round genius, worldwide.

A man who has a long beard, working in his lab.

He was one of the most relentlessly curious men who ever lived.

The greatest artist of all time.

Once you start knowing him, things get much more complicated.

He's so many things to so many people.

I was very surprised knowing the scientist he was,

and the philosopher and the incredible artist of drawings.

Leonardo da Vinci was many men in one man.

An astronomer.

Also a musician. An architect.

He knew everything.

He knew how to build war machines...

Engineer, botanist, biologist, anatomist.

An observer, so much.

He was an extraordinary polymath.

He was a chef, he was a composer.

He wasn't just a painter or a designer.

He was always ahead of time.

He was a genius.

He was always in search of the right questions

and the good answers.

Very clearly, he fits into the category of genius, for me.

A unique, unmatched complexity

maybe still unseen in the history of mankind.

Even in an 8-hour show like this,

we can only touch the surface of what Leonardo was and did.

He's still... is making waves hundreds of years later,

and yet, he left behind just 12 works of art.

That's extraordinary.

And then by reading the scripts and acting in the series,

he becomes a man.

Leonardo is a real enigma.

He was very much an outsider for his time.

He was an illegitimate child. He was a gay man.

Even if he wasn't necessarily struggling with his identity himself,

he was certainly struggling with how best to present that more widely.

I don't think you'll ever fully get the real essence of who he was,

but that's the great thing about him.

Unravelling the complexity of this man is--

You wouldn't do it in a lifetime.

I don't know who Leonardo da Vinci is.

We're finding him.

Because he's such a complex character,

we ask ourselves that question every single day.

So, for Steve Thompson and I,

what we wanted to do was capture who Leonardo was as a man.

We have the immense problem that we could sit down and write 100 different shows.

From the first few pages felt, they were Frank's drafts,

I thought, there's a real person here. This is interesting.

I've never thought of him like that before.

You think of Da Vinci,

you think of the guy with the old beard,

you think of the Mona Lisa,

some of the great works, but you don't think of the person.

To see this person evolve and change

in the opening 10-20 pages of the first script,

I'm thinking, "This is a real person."

It's a human.

These scripts instantly grabbed me when I read them

because it's a character-driven narrative.

It's so delicious to have to deal with a story

about a character's journey,

in this case, to discover who they are themselves.

We are telling about the complexity of a man.

We see him as a child abandoned by his father.

We see him young and anxious, looking for his first job.

We see his fears, his uncertainties. His great visionary ability.

His shyness.

Leonardo is front and center of the script.

We get to try and understand him

as an outsider from the beginning.

He's a very different representation of masculinity on-screen

that all of us should strive to...

to understand, watch, and put out there in today's world.

This is a love story but without a sexual love affair.

This is a platonic love affair between a man and a woman,

but a gay man and a...

It's a celibate relationship.

That's a really powerful and different narrative.

One of the challenges you face is genius is a mystery.

And you can never really explain where it comes from.

But what we've tried to do is give you insight

into what made him a genius.

What makes him really interesting as a character is "genius."

It's quite a lonely place to be.

If you have a genius mind, you're locked inside a genius mind,

that can make people very lonely.

So we started to explore the human relationships in his life, as well.

To show you how moving his journey through life was

and how much he sacrificed to achieve what he did.

But it's more than that.

It's also a story of an artist,

and how they are challenged all the time

to achieve what it is they're desperately trying to achieve.

We look at the Last Supper or the Mona Lisa

and we take for granted that it's beautiful and a masterpiece.

But, of course, it wasn't so obvious at the time.

So we've spent a lot of time in this show

focusing on Leonardo as a man,

but also trying to give the audience

an understanding of what made him such a great artist.

In the eight episodes, every one of the episodes

tells the story of one particular piece of art

and the struggle to create it.

Those are our two story arcs.

Not just to show you art as if this were an art class

or educational television,

but to show you the human truth of this art

and why it mattered to Leonardo and why it was a work of genius.

When I look into your eyes,

I can see the pain in my own.

One of the things that makes it different

is the nature of the story.

It's a biopic. It's not a typical costume drama.

This is like a blend of genres.

Frank Spotnitz, Steve Thompson and Gabbie Asher,

when in creating this show, have created

a murder mystery at the heart of it.

It starts with the murder of a woman.

Leonardo is arrested and accused of her murder.

Steve and I began to imagine who she may have really been.

And we don't know.

'Cause it's lost to history.

It's a blank that we had to fill in.

All of the great biographers say, "This is what we do know

"but here are the questions which are unanswered."

For Frank and I, as dramatists, that's great,

because we can fill in the blanks.

We can say, "Okay, this much we know to be true,

"but this much is just speculation."

And at that point, fiction takes over,

and we can have some fun with it.

It's a beautiful framework to create a biopic.

It's a fictional event in a real life story.

But by filling in and imagining

what their relationship was

and why she was so important to Leonardo,

it gave us a way to tell the emotional story of his life

that wouldn't have existed otherwise.

Leonardo was someone who found

his salvation in art and his own imagination.

He put that above other people.

Above life and love.

And his journey in our series is about

learning to put people, life and love above art.

I had no idea who was going to play Leonardo.

It's, obviously, a really difficult part to play.

So when I found out that Aidan was available

and interested in playing the part, I was thrilled.

He's a deeply sensitive...

...personality. A deeply sensitive character.

And you have to have that in the artist.

You have to have someone who feels everything.

Absolutely the perfect actor for the role of Leonardo.

I've never been able to think of anybody better.

To be able to convey his intelligence

and the enigma of Leonardo,

the mystery of where his genius comes from,

that's something not every actor can do.

We all felt really confident that Aidan could deliver that,

and he has.

I felt a lot of pressure in preparing to play Leonardo.

That's what attracted me to the part, as well.

Yeah, it's terrifying.

For him, it's great to have a role like this to play with

and explore and challenge himself with.

Because Leonardo is a man capable of rage and passion,

and huge empathy and insights.

But we don't know what he was like.

We don't have YouTube videos of him.

We wasn't on political campaign. We don't have any--

We've never heard him speak, never seen him walk.

So you can start to create this person.

This human behind all that work.

That was the exciting part, too.

You're not mimicking a famous person

that we're all aware of.

With all the work and everything we know about him,

we're starting, again.

It must be intimidating to play a real character from history

that was such a genius,

and to make him human.

I overreached.

Attempted to cram too many ideas into a single work.

Always hard to say who my favorite characters are,

'cause I love all the characters.

It's like asking somebody to pick their favorite child.

But I would have to say it's Caterina.

Caterina da Cremona is love.

Like Leonardo would say, "She's love."

Tell me about this woman.

Caterina da Cremona.

You can't help but love her

because she is so blunt.

She's honest. She's too honest.

She's saying things she should not say.

They just come out of her mouth, immediately.

She's a young woman.

She's a tough one.

She comes from the street, the working class.

So she knows what's what.

But she's also...

a pure heart, like a white heart.

A pure soul.

It is wonderful.

The relationship that she has with Leonardo,

that is obviously the love story at the center of this show,

is really interesting because, ultimately, it's a platonic one.

It was platonic, I suppose.

There's a thin line between all of that.

It was a real representation of love.

As opposed to something being platonic or romantic...

It felt something of a mixture of the two of them,

or something more than that, even.

She's able to push him in ways

that he's not able to do himself.

He doesn't have the confidence.

Also, he's able to see things in her that she didn't see.

It was something more than just a friendship.

Which was interesting to play.

They become brother and sister,

husband and wife, best friend.

We don't know. They have this great bond.

This great connection that can't be enchained.

They belong to each other.

All my life I've felt like nothing.

Until now.

Until you.

I don't think that...

those sorts of love stories are necessarily told...

in quite the same way that we've managed to do on this show.

I'm really proud and excited about that.

She's like a key that opens him up

and begins to allow him to show his art to Verrocchio.

To be recognized as the most talented apprentice

in the studio.

Verrocchio and Leonardo are of a similar nature.

Because, firstly, Verrocchio was a sculptor too.

Then he became a painter.

Then he was also an architect.

Verrocchio was somebody that Leonardo greatly admired.

Very famous maestro/teacher in Florence.

Somebody that Leonardo really looked up to.

The relationship between Leonardo and Verrocchio

is the kind of relationship where they both look for perfection,

a divine perfection though.

You can see it from their paintings.

We had a lot of fun.

That was very much the master-pupil relationship.

So the falcon has taught the falconer.

He's just got a big personality. Very confident person.

So it works.

It was kind of, yeah, we didn't have to...

There was no acting required

for the scenes with Giancarlo.

In the questioning of him about Caterina's murder,

we invented this character

of Stefano Giraldi, who's an officer of the podesta in Milan.

He is a fictional detective.

Leonardo da Vinci is on trial for murder,

and I'm trying to find out the truth behind what happened.

It was around the hottest time in Rome.

It was 40 degrees outside, no air-conditioning,

and we were in this small cell.

And we shot all of our scenes in that week or in four days.

I've really relished getting to work with Aidan,

and the two of us are often in these confined spaces together in his cell.

And the scenes very much aren't about the big action set pieces,

but more about these little minutiae between different characters.

If you're innocent, where's your proof?

In some ways, the scenes between Giraldi and Leonardo feel like a different show.

The mind games.

I guess these tennis matches between the two of us,

and I've really enjoyed getting to play those.

We've been looking for you.

I go by lots of names.

Some people call me Salai, little devil.

The characters I enjoy writing in my scripts

are among my favorites.

I mean, Leonardo's, of course, great fun to write.

I have a particular favorite as well, which is the character of Salai.

Salai is a street rat.

He's a thief and becomes the assistant, the friend,

the apprentice of Leonardo da Vinci.

He's a very smart character, very devilish, very playful,

and, of course, very, very loyal to his maestro.

Most people, when they meet Leonardo, are very respectful

and treat him with a sort of remoteness.

Salai doesn't. Salai is a thief, a street rat,

and has absolutely no sense of respect for him.

And when they talk, there's a really sharp, spicy kind of banter between them.

And that's really fun to write.

What's your name?

What would you like it to be?

Everything is just a joke to you.

Leonardo sees a lot of himself in this boy.

He takes him from the streets

and he's somebody who has been rejected by life also

and somebody who just needs

love and attention and somebody to trust.

And they find that with each other quite early.

Even they come from different backgrounds,

they are going to spend their life together.

So it's a relationship

based on loyalty between them.

And there is a very pure love between them.

That's why Salai is going to be

always there for Leonardo.

Salai is... He was...

one of the big loves of Leonardo's life.

One fact that not a lot of people know about Leonardo is that he was gay.

And so, Caterina discovers this about Leonardo,

and he discovers it about himself.

And I think it's a story that feels very modern in terms of that struggle.

Here is a guy who encounters all sorts of problems in his life.

He has very difficult relationships, problem with his sexuality,

terrible problem with his parents.

He had a very difficult upbringing.

He wasn't brought up by either of his parents.

And he was really mistreated

by members of his family.

And he grew up

not really believing that he was lovable, that he was worthy of love.

So much of Leonardo's angst came from his family

and how he was brought up.

He was always quite resentful of being rejected by his father.

I didn't ask to be born.

No one asked for you to be born, Leonardo.

You are a mistake.

He had several kids,

but he never very recognize Leonardo, he didn't wanted him.

He understood later, he was a vegetarian,

which was particular, for the time. Gay, certainly.

So he was very disappointed by his son.

Working with Piero, working with Robin,

those scenes were... They were always tricky.

There was naturally a lot of angst

and energy in those scenes.

It's an authority relation.

The father is very strong.

He didn't play him necessarily very cold.

But just knowing and researching so much,

and just speaking to Dan about how much

his relationship with his father would have affected him, did affect him,

always affected him,

it just turned on something in those scenes between us.

But he tries to understand his son,

but he can't very well understand him.

And maybe it gave Leonardo some strength.

Of course, it destructed him but it gave him strength.

My favorite character,

I would say,

Ludovico Sforza.

I don't know why. Maybe because I love James D'arcy,

and I love his Ludovico Sforza.

I think the relationship between Sforza and Caterina

is very interesting in its complexity,

but ultimately,

it felt to me like it was a power game.

That's your choice, of course.

Of course.

But there really is no choice at all.

Yeah, James is fun.

James is a great guy. He's one of these actors

who, straight away, just embodied...

He was the character, you know.

He just felt right straight away, and he brought a lot of humor

to the role, too, which was brilliant. It felt right.

You are Leonardo?

Do you know who I am?

Yes, your grace.

One of the exciting things about playing a character

who is in charge is, actually, you don't have to do anything.

Everybody else does it for you.

It's a great character, it's full of contradiction

and over the line all the time.

He's crazy.

He's the boss of the castle,

but you never know what he's thinking.

He can be charming,

he can be a tyrant,

he can be quiet,

he can be loud, he can be any one of those things.

But it's much more to do with the way people react around him in court.

A menacing guy and scary person to have around,

but I think he's a patron of the arts,

and I think for that reason alone,

it's somebody that Leonardo appreciated.

I think he challenged him.

I think he opened his imagination,

to some extent.

I think he did push him in ways

that even a genius like Leonardo da Vinci

needed someone to keep pushing him forward.

Because every artist is plagued with self-doubt,

and the show explores that quite a bit.

So Sforza was the person who was there to say to him,

"No, it's possible. Do it."

Whenever you make a film about a real character,

doesn't matter if it's Mahatma Gandhi

or Muhammad Ali or Leonardo da Vinci,

it's terrifying that they're people that everyone has some idea of,

and you're going to be judged harshly, whatever you do.

There's no perfect version of this character.

There's just the version that you can present.

And I think every time you represent someone from history,

you have a responsibility to be as truthful as possible to their character.

But at the same time, you have responsibility

to tell the best story in the best possible way

regardless of who-- the actor you cast to play that person,

or how you choose to write.

We had to stop shooting on March 9th.

At break time, I mean, at lunchtime,

and from the afternoon we started thinking about

how we could reopen our film sets.

We had to stop production for months.

We just had to stop,

and we didn't know if we'd have a show or not.

And every production that was shooting

all over the world has had exactly this problem.

It's a credit to Lux vide and Sony and everyone who managed to make it work.

It's a huge ordeal.

You have one-way systems around everywhere

and different departments not meeting each other.

It's a huge... The geography of the whole thing,

to orchestrate it, in itself is... On top of shooting a TV show.

It's just crazy.

How extraordinary it is that Lux Vide has managed to get this show

back up on its feet during COVID.

And they've worked exceptionally hard

to make sure we're all tested. Weekly, we're tested.

And that we have a safe working environment for COVID.

We put in a huge effort, almost a superhuman effort

to resume shooting, which we did on June 8th.

I must say that everybody worked very hard

from their homes, the places where they were spending their lockdown days,

to make this possible.

So that's been amazing to see how this crew

has managed to put together such a huge production again

in such a short period of time, and keep it safe for everybody.

That's really inspiring.

I, first of all, feel very lucky to be able to be back working.

Everyone here in Italy that was obviously so hard hit

by the coronavirus has been wonderful at

putting in all the necessary precautions and making sure that people feel

as safe as they need to in order to go back to work.

We have acres, hectares here of land where we've recreated streets

and buildings and interiors and piazzas

so that we can keep filming

and create as many locations as we can.

We considered many viable options,

so much so that in Europe, we were the first

to resume working on such a complex production work,

I mean, something at this level.

How to have actors next to each other on the film set,

because, you know, we couldn't have them wear face masks.

How to disinfect and clean

an enormous amount of costumes and props.

We bought some COVID-19 fogging machines

to disinfect the clothes worn by those who entered the film sets,

and then also temperature check devices,

sanitizing not only their clothes but also their bodies.

I feel like the protocols are terrific.

We're tested all the time, everyone on the crew is tested.

Everybody is wearing masks.

It's as safe as it could be.

It's a bit weird working under these protocols,

I won't lie to you.

Because it's very difficult to understand my job

without being close to both cast and crew.

But I have the feeling that we're working

in a very safe environment, and the production

has taken a lot of measures to protect us.

So I have the feeling that I'm calm and I can do my job well.

This job is about relationship,

it's about being together and playing together.

We all feel very blessed to be back on set and do what we love the most,

because we understand that it is not something

to take for granted in life.

One of the most important things to me in creating this show

was to make it as authentic as possible.

And look at the story

through Leonardo's eyes as much as possible.

What were the resources available to him?

What were the materials available to him?

How did he actually paint his art?

What were his skills?

How did he learn them?

Straight away, getting a tour of the art department

and just seeing the work that they had done

and that they had to do was quite breathtaking, actually.

A film set like this involves over 200 people working in it.

Two, sometimes three units shooting at the same time on the same day.

We developed and partly built dozens of locations.

Sixty, seventy different film sets.

We covered an area of at least 600-700 square meters.

We have a very large film set, all outside Florence,

that we're going to reconstruct in a plot, a back lot actually,

near the Filmhouse Studios.

The challenge was really huge.

Building...

something that probably hadn't been done for over 20 years

here in Rome and in Italy.

A film set of yesteryear

in terms of volumes, extension, and complexity of...

of production.

In the Art Department, here in this office,

we're basically five, six people.

Then there's the Decorators Department, accounting for another six, seven people.

Then there's the Carpentry Department,

a department of plasterers, then companies building the scenes.

Totally, it could be more than 150 people.

Of course only in such a project

where almost everything has been completely rebuilt.

This structure includes two cities

Florence and Milan.

Streets, alleys, buildings, palaces,

and churches.

Building all this was such a complex undertaking...

This is the Florence model,

which is a scale model.

It is useful for the direction

in terms of all stage movements

and camera movements, and for the actors, group scenes.

I mean, it's very useful for everybody.

What you see here in green

will be made in CGI, i.e. in post-production...

The technical drawings, and also the sketches,

are always provided by us, that is, the Scenic Design Department.

So that they still have a design that matches the real one.

A very important part of our work is the sketching phase,

sketches are generally drawn at the beginning.

And it has to do with showing the film look,

the "film dress", I'd say.

So the color palette, the choice of the style of the furniture.

We have the global picture of what the film is going to be, actually.

I had no idea...

how to-- You have a clue when reading the scripts,

but you forget how many stages. And somebody has to do this actual work,

has to paint from the beginning. Lots of them.

And they're not just all HD scans or photographs.

A lot of them have to be painted,

and sketched from the very start.

I am a scene painter, or rather a scenic artist,

and I mainly work on paintings

and everything that is decoration and painting in cinematography.

Especially in films set in the old days, in classical eras.

Because I studied ancient painting

and so, knowing the techniques, knowing the styles,

I then apply what I studied to cinematography.

It can be drawing, it can be engraving,

it can be an oil painting, or even a fresco.

Always, of course, made with a technique

which is somehow reminiscent of the original technique,

because we're talking about the scenic design.

I apply the methods I've been testing over the years

to create the same visual impact

a real fresco can have, or a real oil painting has.

So, in the creation of the apprenticeship

that he went through at Verrocchio's studio,

all of the young artists

who he selected to be working with them went through a kind of boot camp

of Renaissance painting techniques and sculpting techniques

and charcoal drawing techniques.

So that they all knew,

literally, how to hold a charcoal.

What they were trying to see, what they were trying to achieve,

what they were trying to make.

And had to go through that process

so that the way they thought, the way they behaved was authentic.

Then I also worked on the physiognomy,

so both the modern facial standards,

and the classical standards of a Renaissance painter.

Because profiles have a...

Let's say, classical physiognomy has its own style,

which is a little bit related to the Greek world, the ancient world,

and so to everything that can be the golden ratio face.

So, thanks to these research studies,

I try and work on actors' faces as well,

and it's rather challenging.

Then, our director

has a very thorough knowledge of Leonardo as an artist

and we're trying to make everything as accurate as possible.

You need to kind of take yourself back to that time

and realize what the light was like.

The sun would have looked exactly the same as what it looks like now.

The main differences would have been the fabrics, the costume.

You know the fabric of the building.

Our cinematographer, Steve Lawes, is someone I've worked with

on four or five different shows now.

And he is the perfect director

of photography for a show like this because he paints with light.

I don't know how else to put it. And Steve Lawes sees the world

in the way I want to direct it.

One of the things that I was very keen to do on Leonardo was to...

restrict myself in a way...

to the way the light would have been in the 15th, 16th century.

By that, I mean

daylight, moonlight, candlelight.

On a show like Leonardo,

or in that period, there is only

these types of light.

And very much like Verrocchio

talks about the quality of the light

and the shade of the light and the color of the light.

It's a very similar process

for coming up with a plan for Leonardo.

In a beautiful scene, Verrocchio explains the types of light.

He says: "There are three kinds of light in the world."

The first, is direct light...

from a window or a candle flame.

The second...

is diffused light.

What's the third kind of light?

Verrocchio replies: "I have always tried to find the third light,

"but I couldn't find it because it is God's light."

One of the other things that Dan and I talked about

was the movement of the camera.

We kind of feel that if you put yourself back

in the 1500s, there weren't--

You didn't have a drone.

You didn't have a tall building to look down from.

So, we decided that we wanted to keep the perspective at ground level

and shoot in that sense.

And in the clothing and in the design,

and in the colors and the textures and the materials,

we want it to be as realistic as we can possibly make it.

I'd give credit to the design department because they did an amazing job,

and the costume department and the hair and makeup,

all those other departments.

I can like what I get to work with.

And it is difficult,

because every time I try to adapt the style, a visual part...

Let me put it this way:

a visual perspective that clearly differentiates,

despite being the same era,

this series from the ones I did in the past.

Also because it is another story.

Then because, actually,

the historical period when Leonardo lived,

that is, the beginning of the 16th century, the end of the 15th century,

is a very particular period.

It is a transitional period.

Like a void, a suspended void,

compared to the previous years.

And Leonardo enters this very "dark" area

presenting himself as one of the artists, the scholars,

the best eclectic talents ever.

And it's amazing how Leonardo's movements, geographical movements

from one city to another, from one client to another,

from the Medici court, to Ludovico il Moro's,

and then he went to France, somehow they changed his nature.

I mean, at the beginning he is one kind of man, then he changes.

And this allows us to show these changes,

to make the Florentine period look in a certain way,

and then, say, Milan in another way.

These two cities already differentiate with every passing year,

also in terms of style,

who Leonardo is and his way of being.

Because costumes tell us 50% of characters, even more.

The most challenging thing for actors

is to wear a tie and a jacket when they are acting.

Hitchcock said that. It's the hardest thing.

But when they give you a costume... it's beautiful.

A costume already carries you into another movement.

It carries you into an era, which costume defines, doesn't it?

Here we have all the paintings Leonardo is supposed to do.

I have to arrange some actresses' hair like in the paintings.

This era, i.e. the 15th century, I'm just going to...

Working comes naturally to me...

these historical periods, you see?

It's as if I was born in that era.

I don't know, maybe I have some ancestors, I don't know.

It is easy for me, that's it. I have to be honest.

Because a historical reconstruction gives you the opportunity

to put your own working technique,

as well as your own genius and culture, into practice.

That's what makes a difference.

Because I think the audience always knows

when they've been given a version of reality,

rather than being invited into a reality.

It's very different.

You think, "This is pretty--"

You're not going to get much closer to it.

We're in roughly the same costume, and this is, per scale,

what it looked like. The room is as well.

It's incredible to have it, not just on film,

but to be in it and to look around

beyond the platform painting.

Having that moment.

I think costume drama often suffers from that.

It can be quite tableau.

Quite presented, rather than inhabited.

And I want this world to feel inhabited.

So, every set feels lived in, every costume feels worn.

There's dirt under the fingernails.

The hair is a little bit greasy, there's sweat under the armpits.

It's a real world.

Leonardo belongs to the world,

so we looked for professionals of great depth...

...international depth,

but also of great intellectual capacity and sensitivity.

Whoever worked on this film set had to have a strong...

how can I say this...

a strong artistic bent, and an outstanding professionalism

to make such an international dream come true.

The audience should watch Leonardo,

because I am in the series.

Okay, perfect.

Because it's a series about the greatest artist of all time,

Leonardo Da Vinci.

People should watch Leonardo because it's fascinating.

It's an insight into one of the most

extraordinary human brains in the history of the world.

We get to see him as a person. And when we do that,

we're even more amazed at this man,

this genius, who managed to accomplish what he did.

It makes him more real and then even more incredible.

It's not a costume drama. It's not a classic costume drama.

It's about love and relationship

and pushing yourself to the limit

and learning how to love again.

It's a very modern series

and it's a universal story, so everyone should watch it.

I hope loads of people tune in to watch this show.

I feel like it's very relevant.

We get to understand Leonardo Da Vinci on a level that I don't think any of us

will previously have had beyond just

the major pieces of artwork that we know him for.

But who is that enigmatic man behind them?

How it was all done and the detail that we show it.

We went to great lengths to make sure that everything is historically accurate.

I think we've done a great job doing that. So for that alone,

it's worth seeing it.

It's beautifully presented, and you will...

If you have any interest at all in

art or creation, this series will speak to you.